What are the conflicts in Hamlet in Act II, lines 295-432?Types and examples.

You must always, when you refer to a particular moment in a play, name the Act and scene numbers. Line numbering begins at one at the beginning of each scene, not each Act. Here, the section of the play that you are referring to is Act II, scene ii, and begins in the middle of a speech by Hamlet:

I have, of late, but wherefore I know not, lost all my mirth, forgone all custom...

You must always, when you refer to a particular moment in a play, name the Act and scene numbers. Line numbering begins at one at the beginning of each scene, not each Act. Here, the section of the play that you are referring to is Act II, scene ii, and begins in the middle of a speech by Hamlet:

I have, of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises; and indeed it goes so heavily with my disposition that this goodly frame the earth seems to me a sterile promontory. . .why, it appeareth nothing to me but a foul and pestilent congregation of vapours. What piece of work is a man. . .and yet, to me, what is this quintessence of dust of dust?

These lines expose (as his earlier soliloquy in Act One also did) Hamlet's internal or emotional conflict. As Enotes describes it, an emotional conflict is:

the presence in the subconscious of different and opposing emotions relating to a situation that has recently taken place or is in the process of being unfolded.

This is true of Hamlet throughout the play, and is exposed here in his conflicted feelings about the purpose of life and being a human being.

Just following this speech there is a bit of interpersonal conflict between Hamlet and Rosencrantz, when Rosencrantz laughs at Hamlet's saying "man delights not me."

This mention of the players leads to a lengthy discussion of an external conflict, meaning the conflict does not concern any of those discussing it. Hamlet, Rosencrantz and Guidenstern are talking about an actual circumstance in Elizabethan England -- the rising popularity of troupes of boy actors. These companies of performers were all the rage, or fad, and they were draining audiences from the playhouses, one of which, The Globe, was Shakespeare's theater. So, this conflict is also a community conflict, wherein one side favored the theater companies of boys and the other side ( including Shakespeare, obviously) favored the traditional companies of boys and men.

For more on conflict types and Act II, scene ii, please follow the links below.